Documents found
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1181.More information
AbstractRescue operas developed along two somewhat different lines: “tyrant” operas and “humanitarian” operas within the general category of “opera semiseria,” or “opéra comique.” The first type corresponds to the conservative British “loyalty gothic,” with its focus on the trials and tribulations of the aristocracy, while the second type draws upon the Sentimental “virtue in distress” or “woman in jeopardy” genre, with its focus on middle class characters or women as the captured or besieged. The first category emphasized political injustice or abstract questions of law and embodied the threat of tyranny in an evil man who imprisons unjustly a noble character. Etienne Méhul's Euphrosine and H.-M. Berton's Les rigueurs du cloître (both 1790) are typical examples of the genre. “Humanitarian” operas, on the other hand, do not depict a tyrant, but instead portray an individual—usually a woman or a worthy bourgeois—who sacrifices everything in order to correct an injustice or to obtain some person's freedom. Dalayrac's Raoul, Sire de Créqui (1789) or Bouilly's and Cherubini's Les deux journées (1800) are examples, along with Sedaine's pre-1789 works. But why, we might ask, were gothic dramas quickly transformed into gothic operas or what are known now as “rescue operas”? This essay examines the social and political ideologies that are explicit in the major gothic operatic adaptations of the most popular gothic novels of Britain, while at the same time examining British opera's very close connections with French models as well as French adaptations of British cultural works.
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1182.More information
AbstractThis is a survey of the directions of the last thirty years in the treatment of pronominal clitics within the generative framework. Perlmutter 1971 suggested that surface constraints are responsible for the internal order of clitic strings, and that the absence of obligatory subjects, as in Spanish, is linked to other syntactic properties. Subsequent work showed the following stages : 1o transformational analyses ; 2o debate between movement and base-generation analyses, due mainly to the contributions of clitic doubling data ; 3o examinations of potential links between null arguments and pronominal clitics, leading to morphological treatments ; 4o extension of the central role played by functional categories and features ; 5o analyses of the internal structure of clitics with feature geometry and renewed interest in notational equivalents of surface templates based on ranked Optimality constraints.
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1183.More information
This article explores youthful subjectivity in both dramatic and non-dramatic verse, considering representations of female youth in Shakespeare’s late romance Pericles alongside the work of poet and polemicist Rachel Speght. The complex, unstable category of youth contributes both to Shakespeare’s rendering of his fourteen-year-old female character in his play and to Speght’s portrayal of herself in her poetry. Shakespeare’s Marina narrates her own tale and reconstitutes narratives spun about her, creating space for youthful self-fashioning. Nineteen-year-old Speght undertakes a similar project of self-making in her prose treatises and particularly in her two published poems, “A Dreame” and Mortalities Memorandum. This article compares self-fashioning in the work of a young female writer to the construction of the young female self by a contemporary male writer, suggesting that youthful subjectivity inheres for both girls in principles of authorship and narrative authority.
Keywords: Rachel Speght, William Shakespeare, Youth, Adolescence, Girls, Subjectivity, Narrative
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1186.More information
The Kingdom Hearts franchise (2002-2020) is truly a product of convergence culture: in its aesthetics and narrative world, it unites games, films, animations, fairy tales, comics and cartoons. The games’ premise to merge intellectual properties from Disney and Square Enix into one coherent universe strikes as an ambitious effort with contrasting themes, motifs, characters, and worlds sharing a single stage on top of a new cast of characters and an original storyline. An analysis of any franchise is often associated with complex licensing structures, its economic impact, and the great financial endeavour to create multimedia franchises. With a franchise such as Kingdom Hearts however, its franchise relationships to other media can be made apparent through a media-centred analysis, allowing us to understand its franchise character from within. One method to make this approach possible for instance is to look at how the franchise delivers on its cross-collaboration premise by creating game worlds inspired by Disney. Some of these worlds are seemingly exact copies of their original and others deliver a new experience altogether. It is exactly this ambivalence that truly stands out in the franchise, juggling between old and new.
Keywords: game design, game worlds, game space, Disney, convergence culture
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1187.More information
AbstractIn 1987, Cameroon created a National Ethics Committee (nec). But it is only in 2005 that the public attention was drawn on this committee's functional challenges, as a controversial clinical trial was testing an antiretroviral for hiv prevention, in Douala. However, few literature reports discuss the nec structure and its adequacy in the geographic and academic contexts of that country. Based on a review of the literature and of local administrative documents, this article is an essay on the ethics of research in Cameroon, with a focus on the structure and the operations of its nec. It is proposed that a mixed nec model, including a national office and regional committees, could theoretically be a better option for Cameroon.
Keywords: éthique, recherche, Cameroun, ténofovir, décentralisation, ethics, research, Cameroon, ténofovir, decentralization, ética, investigación, Camerún, tenofovir, descentralización
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1189.More information
The first composed collection of poetry to be printed in France remains a paradoxically unknown masterpiece in that we read it in a highly altered form which destroys the integrity and alters the meaning of the original work. A close examination of the original Adolescence Clementine reveals a coherence never to be equaled, and a promise never to be fulfilled, in any subsequent work by Marot.